In 1968, Beatle Paul McCartney and Beach Boy Mike Love were at the breakfast table in India. McCartney had come to Love with a very rough form of “Back in the U.S.S.R.,” which he began writing on the trip. Over pancakes and fruit, McCartney started singing the chorus. “Paul sang me the verse. I told him he should talk about the Russian girls in Moscow,” Love explains. “He took my idea and incorporated it into the song.”
Meeting an Albuquerque musician who makes more than $50 at an average show nowadays is rarer than sighting the elusive yeti, and as most can tell you, earning a respectable sum via song is almost unheard of. Almost.
During a career that spanned more than three decades, exhalted composer, guitarist, visual artist, film director and general avant garde visionary Frank Zappa wrote and produced a multitude of songs. His music strode a squiggly line between jazz rock and experimental classical music, and there was nothing like it then, or now. A few years ago, Zappa's oldest son Dweezil went on the road, re-creating his father's original compositions. The Grammy-winning tour, which continues to be met with success, comes to Albuquerque this week. Dweezil told us about it in a telephone interview.
Admire this seemingly French new wave-inspired poster, then see the show on Friday, Nov. 20, 10 p.m.-ish, at Burt’s Tiki Lounge (313 Gold SW). The evening features performances by an eclectic, extra-X chromosome-laden cast headlined by hell-raising honky tonk heros Sin Serenade, supported by all-girl thrashers Suspended, beatbox queen Saywut?! and Ben Hawthorne (we think he’s a dude). Free, 21+. (Jessica Cassyle Carr)
A keystone in the wall of weirdness The Flaming Lips has built over the past 25 years has been the unique ability to juxtapose bizarre music and lyrics with cathartic optimism in songs like “Do You Realize??” However, this 13th album stunningly takes the Oklahoma band’s notorious weirdness to hell and leaves listeners there, surrounded by dark and versatile psychedelic rock. Embryonic—somewhere between early Floyd and Miles Davis’ Get Up With It—turns upside down ecstatic and eccentric frontman Wayne Coyne’s usual oddball tales of love saving the world with lines like “I believe in nothing” and “love is powerful, but not as powerful as evil.” (AP)
Tom Frouge is the creator of ¡Globalquerque!, owner of an artist management company called Avokado Artists and partner in a music licensing company called Masterscape, Inc. (see “Sound and Sight”). He’s also one of our first victims in Song Roulette, a new column where music fans are asked to put their music libraries on shuffle, sharing and commenting on the first five tracks that happen to show up.